‘The concerto form actively encourages this kind of narratological speculation, just as solo-orchestra interaction encourages anthropomorphic interpretation’Afore-quoted statement by Simon Keefe (2005) display a particularly narrative predisposition, as it were, immanently inscribed in assumptions characteristic for a concerto, arising from the relationship between two contrasting sonic subjects combined with a tendency to build an overarching dramatic-architectonic whole, and constituting something akin to a narrative gesture of virtuoso showpiece endings typical for the genre.In transcending classical form-shaping determinants, the twentieth century brought new ways of shaping concerto narratives. Furthermore, modernist tendencies to negate traditional values yielded attempts at negating the concerto’s narrative nature, as exemplified in compositions by Cage, Feldman and Ligeti.This paper presents the outcomes of my research in relation to piano concertos by Polish composers of the 21st century. I will showcase selected and diverse ways of shaping narratives and meanings attributed to them, while demonstrating how these compositions respond to ambient reality, contribute to the creation of present-day culture, reflect contemporaneous experiences, and 'respond to the modern desire for expressing the multiplicity of existence, fragmentary and seemingly irrational orders, and meanings that go beyond those that are known' (Pasler 2008).Analyses referenced herein draw on the concepts of Michael Klein (Map of Narrative Discourse), Nicholas Reyland (Negative Narrations), Byron Almén (Transvaluation), Kofi Agawu (Beginning-Middle-End Paradigm) and Vincent Meelberg. The materials presented are an excerpt from the author's doctoral dissertation on contemporary piano concertos in the context of genre transformations and theories of musical narrative (2023).